Through a qualitative inquiry within the tourism and destination branding context, this master thesis explores storytelling by online users as well as Visit Greenland in the campaign #ColourfulNuuk, and how the theoretical field of destination branding can accommodate user-generated content and social media. Using a theoretical perspective on visual narratives as well as branding, I analyse the dominant narratives and counter-stories in the understanding of Nuuk’s brand, and how the notion of destination branding has to change, in order to make progress and keep up with the ever changing social media platforms. My theoretical framework within the narrative research field is shaped by the works of Michael Bamberg, Dennis K. Mumby, Emma Kafalenos and Cindie Aaen Maagaard. Furthermore, I draw on the works of Gunther Kress and Theo van Leeuwen in the field of social semiotics. Within the field of branding I especially draw upon the works Mary Jo Hatch and Majken Schultz, and their Vision-Culture-Image model. I have found that the users and Visit Greenland are very aligned when it comes to the brand around Nuuk, and thus construct many of the same dominant narratives. These revolved in particular around the nature in Nuuk, the meaning of the sun, active people and everyday objects. However, I have also shown that the online users negotiated and renegotiated the narratives, and thereby constructed counter-stories, around a dirtier Nuuk. The biggest difference between Visit Greenland’s vision and the image of Nuuk turned out to be about gastronomy and culture, thereby concluding that, in the terminology of Hatch and Schultz, there are gaps in the overall brand of Nuuk, and the brand is therefore not completely coherent.I have also found that the theoretical field of destination branding needs to be revised, in order to keep up with the social media platforms, and include online users in the co-branding of destinations, if the tourism organisations wants to hold an authentic brand. This can be done by a more open approach, where user participation is not a threat to the brand, but a way to make it more nuanced. Also every tourist has their individual experience of a destination. This calls for a more diverse branding, where the brand might not need to be coherent to be successful. In the end the brand needs to be user-oriented, as it is about the tourists’ interests.
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机译：通过在旅游和目的地品牌背景下的定性查询，该硕士论文探索了在线用户以及“ #ColourfulNuuk”运动中的格陵兰岛的讲故事，以及目的地品牌的理论领域如何适应用户生成的内容和社交媒体。我使用视觉叙事和品牌的理论观点，分析了对Nuuk品牌理解的主流叙事和反故事，以及目的地品牌的观念必须如何改变，以便不断进步并与时俱进。不断变化的社交媒体平台。我在叙事研究领域的理论框架是由迈克尔·班贝格（Michael Bamberg），丹尼斯·K·姆比（Dennis K. Mumby），艾玛·卡法洛诺斯（Emma Kafalenos）和辛迪·阿恩·玛加德（Cindie Aaen Maagaard）的作品塑造的。此外，我借鉴了Gunther Kress和Theo van Leeuwen在社会符号学领域的作品。在品牌领域，我特别借鉴了玛丽·乔·哈奇（Mary Jo Hatch）和玛伊肯·舒尔茨（Majken Schultz）的作品以及他们的视觉文化图像模型。我发现在涉及Nuuk周围的品牌时，用户和Visit Greenland非常一致，因此构建了许多相同的主导性叙述。这些尤其围绕努克（Nuuk）的自然，太阳，活跃的人和日常物品的含义。但是，我还表明，在线用户通过谈判和重新协商叙述，从而围绕肮脏的Nuuk构建了反故事。 Visit Greenland的视野与Nuuk形象之间的最大差异在于美食和文化，因此得出结论，在Hatch和Schultz的术语中，Nuuk的整体品牌存在差距，因此该品牌并不完全我还发现，如果旅游组织想要持有一个真实的品牌，则需要修改目的地品牌的理论领域，以跟上社交媒体平台的步伐，并将在线用户纳入目的地的联合品牌中。牌。这可以通过更开放的方法来完成，用户参与度不是对品牌的威胁，而是使品牌更加细化的一种方式。每个游客都有自己的目的地经历。这就要求品牌更加多样化，在这种情况下，品牌可能不需要保持连贯性就可以成功。最后，品牌必须以用户为导向，这与游客的兴趣有关。
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